If folks can't see that Chad doing a really great job at balancing his love of records with running a business, I just don't know who they can point to that is doing more for us audiophiles at making great records.
I'd go for this. Loved it since I bought the Classic Records reissue in 1995. Have the AP 33 now. It would certainly get more play than this KOB because of burn out.
It seemed more like an attempt at acting to me. Which doesnt mean its not that title, just that he wanted to give a hint.
I've been digging into the reissue timeline all morning, since this stuck out for me in yesterday's video. It really looks like this is an error on the Acoustic Sounds website: "This UHQR was pressed from the same parts that Bernie Grundman cut directly from the original 3-track masters for Classic in '95." The first 2 disc Classic set of the Original Speed and the second corrected speed disc have been mistaken date on Discogs at 1995. https://www.discogs.com/Miles-Davis-Kind-Of-Blue/release/3841623 Hobson spelled out the timing again yesterday. They got the tapes from Columbia in January 1997. Gary Salstrom said and showed that plated them on Jan 31, 1997. Test pressings were made at RTI in March/April 1997. https://www.discogs.com/Miles-Davis-Kind-Of-Blue/release/10644488 https://www.discogs.com/Miles-Davis-Kind-Of-Blue/release/18124840 https://www.discogs.com/Miles-Davis-Kind-Of-Blue/release/8507445 There is no 1995 timeline for a Classic KOB. I don't know what date the first Classic Records 33 rpm edition hit the streets, but it was no earlier than summer 1997. There is no 1995 edition. The two disc set of the 33 rpm plates made in 1997 were: Stamper "A" side 1 at the original speed (slightly fast) Stamper "B" side 2 Stamper "C" side 1 at the corrected speed Stamper "D" the outtake at 45rm Flamenco Sketches The 2002 "single disc" of the speed corrected 33rpm version that came in a single pocket tip-on jacket appears to be pressed from stamper "C" side one and stamper "B" for side two from the same plates as the 1997 mastering. The 45 rpm cut was released in 1999. I haven't seen it discussed if this was cut in the same session as the 33 rpm version, or if they revisited the tapes to do those cuts later. I haven't seen a test pressing date for the 45 rpm cut. Anyone?
(Sung to the tune of the Hank Williams Jr. Monday Night Football theme...) "Are you ready for some Zeppelin?!"
There might be some patent from 95 thats on the release that was used. Happens all the time on Discogs.
Surprised nobody has speculated Hotel California, Close to The Edge, Deja Vu, Thick As A Brick, 2112, Machine Head, A Night At The Opera, Quadrophenia, or Crimson King
I seriously doubt the industry is ever going to get significantly more presses. IMO the smart money thinks the current excess demand could quickly turn into excess capacity - and investment losses.
I actually think most of these titles will be released by either Mofi or AS at some stage. Maybe not Quadrophenia. In the UHQR or One Step format.
Any of those would be a great UHQR. Selfishly, I now hope it’s not Deja Vu as I have the 50th 5 LP set preordered. Hotel California did cross my mind. That could be fantastic.
This is interesting. Considering the 1995 date has been floated around so much from official sources, and even a supposed 1994 date for mastering and 1995 date for release has been mentioned previously in the thread which seems oddly specific. Have to wonder where that came from but I’m sure there is an explanation. I take it nobody on the forum actually remembers buying the record prior to 1997? Is it possible that maybe the particular mother they are deriving their stampers from happened to be plated in 1997, but the initial lacquer/father (and maybe even some pressings from a different mother) came earlier?
It's possible that because Hobson started Classic in 1994, and the jazz stuff started coming out in 1995. Hobson also tells the story about contacting Columbia for the Kind of Blue tapes, and they offer him Time Out, while the lawyers figure out the rights for KOB. He gets the tapes for Time Out which Bernie cuts in Oct 1995, and says "it was about a year later" in January 1997 when they finally got the KOB tapes.
Want. How do the AP (if you have heard them) versions stack up to the Classic? I'm waiting for both the 33 and 45 of their version to come back (which I hope they do.) What are your thoughts, in general, regarding 45 rpm Classical releases? I understand that some people don't like having "the spell" interrupted so frequently (yes, I get it) in the need to change sides..., but the sonics. And what happened to ORG? They had a slew of more Classical 45s that I was pining for and then the all words and pictograms depicting such just vanished. What gives?
"Original Recordings Group" ran from about 2006 to 2015ish - I think that's the label you're referring to. It was founded in LA, by record industry guy Monti Olson, with Jeff Bowers. https://www.discogs.com/label/130199-Original-Recordings-Group Jeff Bowers left Original Recordings Group and started ORGmusic, around 2009. the name seems to be confusing! "ORG music" is still around. https://www.discogs.com/label/223714-ORG-Music At some point Monti Olsen seems to have focused on his major label jobs, he's been a senior VP at Warner Bros. Records, and BMG since Original Recordings Group has been inactive.
Very different but yes great. One man operation of European only recordings sold at an extremely good price point. Few titles.
ORG seems to be on a very slow release schedule, I suppose so the market can absorb the 2500 of each of those London Decca titles released thus far. I bought the first 10 and think they are superior to any prior pressing. That series deserves to continue and get more support. As far as classical reissues on vinyl and 45 in particular, I get that there's not a strong market. I think there's two factors in play here. Many classical lovers jumped the vinyl train as soon as CD appeared. That format solved a couple of the big problems that plagued classical vinyl for its entire existence. Breaking up flow of longer movements was no longer an issue with the CD. Surface noise and other noise was eliminated with CD as well, so quiet passages which of course are common in classical just came off better. In many ways it just makes sense for the music lover. Audiophiles still held on to the superiority of vinyl, and TAS had a big hand in rightly praising the labels and pressings where that superiority was most apparent. I haven't heard an AP Living Stereo because I hesitated due to having all the originals, the Classics 33 and 45, even the Cheskys. I'm sure they are quieter and well mastered versions. This is the ideal going forward. The best recordings, lovingly mastered and impeccably pressed. This is what Chad is doing. I notice he's only done Pines, Scheherazade and Power of the Orchestra as 45s, as opposed to Classic doing most of the titles. I think it's best to stick to those kind of sonic blockbusters in a 45 series. I personally like to have both as my mood may be to hear the whole side uninterrupted, or to be just hear a particular movement in the 45 format for maximum sonic effect. That's why I mentioned side 4 of Scheherazade. It's one of the most thrilling sonic rides you could take. Delicate here and there and shaking the foundations in those climaxes. I can totally see them doing something special with it in the UHQR series. After all it is referred to as the crown jewel of the Living Stereo series. 33 or 45 I'll take it. Oh and that artwork would be stunning on the UHQR box! Top tier title and artist.
127 RPM. "YOU'LL HAVE TO BUY A COMPLETELY NEW, EXPERIMENTAL TYPE OF RECORD PLAYER - DO YOU NEED TO CHANGE YOUR UNDERWEAR NOW?"
